I'm about to do something that has become a rather unpopular thing on the internet -- especially among liberal and progressive-minded people such as myself. I'm about to explain why I consider Rey to have been a "Mary Sue" in Star Wars: the Force Awakens.

I'm not doing this because I want to hate on the movies for the sake of hating them. I'm also not trying to hate on Daisy Ridley, and Daisy, if you read this, I want you to know that I think you did a fantastic job with the material that was given to you. I'm being critical because I want the movies to be better than they are. I have very high standards and expectations when it comes to Star Wars, and I feel that Disney's efforts so far have been sub-par. So much so that I often find myself using phrases like ... sigh ... "to the prequels' credit". I hate having to say that. It makes my skin crawl every time. I'm at a point, however, in which I find myself pointing out merits in the prequels as a point of contrast against flaws that I perceive in Disney's Star Wars films, as if one set isn't better or worse than the other; but rather, that they are just ... different.

I don't hate Rey. I am critical because I want these characters to be better.

So even though this is kind of old news that's been beaten to death for over two years, let's talk about Rey for a moment. And regardless of which side of this issue you fall on, I hope that you read the following with an open mind. And if you disagree, then that's fine. I'm not going to fight you over it.

"Mary Sue" is a subjective qualifier

Let's start with some background. The definition that I use for a Mary Sue is:

A fictional character (often appearing in fan fiction) who is primarily a vehicle for wish-fullfillment (usually being a self-insert stand-in for the author), and who is unjustifiably-competent in multiple fields -- if not everything.

Typically, these characters are good at everything they do. They get along with other established characters exceedingly well (sometimes even being romantically pursued by one or more of the canonical characters). They have few (if any) flaws. They are an idealized character who is essentially a "perfect" character within the fiction. They are also -- pretty much by definition -- characters who are added to a fictional setting long after its initial establishment.

The term "Mary Sue" is derived
from Star Trek fan fiction.

The term originated in Star Trek fan fiction, having been coined in 1973 after the publication of a parody story "A Trekkie's Tale" in the fan magazine Menagerie. This particular story (written by Paula Smith) was about a 15-year-old female character named Mary Sue, and it satirized the unrealistic nature of many characters in other fan fiction stories. Lieutenant Sue was the youngest Lieutenant in Starfleet and was an expert in virtually everything she did. She was "the best and the brightest" of Starfleet.

First off, I want to get one thing straight: whether or not a character is a "Mary Sue" is a subjective opinion. Whether or not any individual reader or viewer considers a given character as a "Mary Sue" is going to depend greatly upon where that individual draws the line between "justifiably-competent" and "unjustifiably-competent". That line will vary from person to person, and from fictional universe to fictional universe. I draw that line at a much different place for Star Wars than I do for Star Trek. In addition, this line is not always a hard or clear-cut line. It might be very fuzzy. The fuzziness of the line will also vary from person-to-person and from fictional-universe-to-fictional-universe. It's all on a continuum. Even within a single fictional universe, one character may be " more Mary Sue-ish" than another character.

Identifying a character as a Mary Sue also does not necessarily mean that the work of fiction (or even the character) is inherently bad.

Discovery isn't the only Star Trek show on TV this fall -- at least, in spirit anyway. September saw the premiere of Seth McFarlane's Trek-clone The Orville. Orville stumbled out of the gates at first with a premiere episode that I really didn't like. But it's been slowly getting better -- or at least, less bad, with each of the first few episodes being substantially better (though still not entirely effective) than the premiere.

A lot of this has to do with a shift in the show's tone. The show was advertised and marketed as a comedy (basically, a televised version of Galaxy Quest), and I went into the first episode with a comedic mindset, and that premiere episode definitely went out of its way to try to tell jokes. That was a problem because the jokes (and by extension the show) just wasn't funny. The focus on comedy and gags also detracted from the serious drama, which was poorly-written, sloppily-executed, and which revolved around a dumb sci-fi MacGuffin. Further, much of the comedy involved stupid pop culture references which are going to quickly become dated; thus, hurting the show's lasting re-watchability if it ever becomes good enough to warrant rewatching.

If you think Star Trek needs more dick and fart jokes --
or more dogs licking their balls in the background, then The Orville is for you.

The problem is that MacFarlane just isn't that good at writing jokes. It pains me to say this because I was a huge fan of Family Guy when it first premiered, and I'll still defend the quality of those first two seasons. But MacFarlane seems to be completely arrogant in his own joke-writing ability, while simultaneously completely dismissive of the audience's ability to grasp the jokes that he seems to think are much more complex and clever than they actually are. Most of these jokes boil down to being fart or sex jokes, and very few work on more than the most juvenile and immature of levels. Perhaps the best example of this is a joke in which the Captain Mercer puts a distress call on the viewscreen. The distressed scientist has a dog in the background who spends the entire conversation licking his balls. It was mildly funny due to its relative subtlety. Yeah, I guess that probably happened occasionally to Captain Archer in Enterprise. Ha ha. But then as soon as the conversation was over, the viewscreen flicks off, and the navigator and helmsman say "Hey, did you see that dog licking his balls?" What little subtlety is gone; joke ruined!

It's like McFarlane thinks he has to remind the audience that there was a joke, and that you should have been laughing, even though the joke wasn't that funny to begin with. This is the same problem that I've always had with laugh tracks in sitcoms: all they do is remind me that the jokes aren't funny. Except McFarlane doesn't use a laugh track, he writes the "hey, there was a joke here. Did you get the joke?" into the script!

"Command Performance" had humor more appropriate for its sci-fi set-up and relationship drama.

The next two episodes, however, seemed to plant their feet more firmly in the territory of genuine sci-fi concepts and character drama, and the show was stronger for it. The execution, however, is kind of hit-or-miss...

I'm still working on my full review of Madden 18. It was starting to get kind of long and rambly, so I decided to break off the section regarding the Longshot story mode (which I've already played to completion) into its own post so that I could be a little more thorough regarding this unique game mode. Well, unique for Madden anyway. Games like 2K's NBA 2k have been doing a similar thing for years.

Longshot is a pretty radically different gameplay mode compared to the rest of Madden, and so it also felt kind of out-of-place in the review for the rest of the game. It's very much its own self-contained thing. In fact, it very easily could have been released as a stand-alone game or "expansion" DLC pack for Madden 18, rather than being a back-of-the-box feature. It's inclusion in the core package is probably one of the reasons that franchise mode received so little attention this year, as I'm sure this thing must have taken a lot of time and resources. Madden is already overpriced as it is (in my opinion) -- especially when you consider how much money EA makes from the Ultimate Team feature -- so I'm certainly happy that I got to play this mode without having to spend any extra money.

This isn't a character-creator like in earlier iterations of Madden's Superstar mode, or NCAA Football's Road to Glory / Race for the Heisman / Campus Legend. Instead, you take on the persona of a character designed by EA, named Devin Wade. Devin is a former college football star who quit after the death of his father and is eventually recruited into a fictional reality television show called "Longshot", in which he's trained to become a potential NFL draftee. Wade is dealing with the trauma of his father's untimely death a few years ago, as well as his own feelings of inadequacy, abandonment, and maybe some guilt. You play through his training process, as well as flashback bits of his high school career (and watch other bits of his college career and some pee wee moments). Surprisingly, one thing that you won't do is have Devin suit up in an NFL uniform, as the mode concludes with him being drafted (or not, as the case may be).

Longshot includes flashbacks of Devin Wade's high school and college careers.

The mode is mostly like watching a movie (a three-and-a-half hour long movie), with the occasional quicktime event, mini-game, or time-sensitive Mass Effect-style dialogue choice...

I recently wrote about the ongoing lawsuit between Ed O'Bannon and the NCAA regarding player likenesses for college athletes (and compensation for college athletes in general). While it seems unlikely that any college football games will be made using the NCAA license while this lawsuit remains unresolved in appeal limbo, it does seem inevitable to me that EA will eventually start making these games again. Hopefully, it will come with the ability to include real player likenesses, but that is likely to depend on the outcome of any appeals and the willingness of the NCAA to include real player likenesses in games. Video game sales seems far too lucrative an exploit for the NCAA to pass up, so I highly doubt that they'd simply refuse to grant their license.

Operating under the assumption that EA will go back to making NCAA Football games within the next few years (hopefully as early as NCAA Football 18), I'd like to start talking about the kinds of things that I'd like to see in such games.

It's been three years without a college football game. It doesn't look like we'll be getting one for 2016 either.
But hopefully a new entry in the series is only a year or two away...

Legacy features that must return!

I don't expect all the old features to return, and even the ones that do return might not be the same as in the older games. But here's the things that I think the game should absolutely have in some form or another (hopefully similar to previous games):

In-season recruiting in dynasty

Redshirt players

Export draft class to Madden

Conference re-alignments

EA Locker: Roster sharing & Team Builder

Custom stadium sounds

"Toughest places to play"

Roster-sharing might seem unnecessary if the result of the lawsuits means that EA can actually license the rights to player likenesses. But it's unclear how that would work. There is no college football labor union (equivalent of the NFL Players' Association) that I'm aware of, so either the NCAA would have the rights to license all of its players as a collective, or it would be the responsibility of the game-maker to individually license each and every player. Hopefully, it's the former. But if it's the latter, that leaves open the possibility of individual players refusing to grant rights to their likenesses, which means they won't be included in the game. Would EA simply remove them from the roster? Or replace them with some generic player? Or go back to using "QB #10" as that player's name? Worse yet, would the game-maker even bother to approach all the athletes, or would they just settle for the key players from elite schools?

In any case, college football rosters are often in flux right up to the start of the season, and many teams need a few games before they settle on a final depth chart. So the ability to share roster updates means that the user base can keep the rosters up to date if EA uses outdated rosters.

Hand-me-downs from Madden

Madden is now a few years ahead of NCAA Football, and the past few years have actually seen a decent improvement in the quality and depth of the game. Of course, I'd like to see a lot of features from recent Madden games also get imported into any future NCAA Football games:

Tackling / physics engine

Improved running, receiving, QB throw-placement, and defensive play

Player experience and confidence (needs to be much more volatile though)

Skills Trainer, augmented with college concepts such as the option

Stadium upgrades and renovation

Just please, for goodness sake, don't force another Ultimate Team gimmick down our throats!...

Shadow of Mordor was a game that almost sold me on the next gen consoles. I knew I was going to need a PS4 for Bloodborne, and I was very tempted to buy one early so that I could play Mordor. The central game mechanic of orc NPCs fighting amongst each other in order to become Sauron's personal favorite sounded like an interesting mechanic for organic story-telling. It was a concept that sounded like something truly deserving of the name "next gen". The biggest thing that held me back was the fact that the game was also available on last-gen consoles, so I figured it probably wasn't pushing any serious boundaries of game design.

Bat-Assassin's Creed: Arkham Middle Earth

The basic gameplay is highly derivative of Assassin's Creed and the Batman Arkham games. It ports both of these feature sets more or less as competently as those original games, including the same perks and problems. The free running feature suffers from the same lack of control that plague's Assassin's Creed, in that it's sometimes hard to predict exactly where the character will land, and he loves to climb up a wall if you run too close to it. Is it really that hard to allocate a dedicated "climb" or "jump" button?! In Mordor's defense, every button on the controller is mapped to something, so at least it has an excuse (unlike Assassin's Creed with its redundant jump button).

The martial culture of the orcs means that when they find a dead comrade,
they assume he was murdered by an ambitious peer, leaving the player off-the-hook.

Stealth mechanics work pretty well; although the orcs are a bit oblivious to my movements through the game world. Sometimes, I can be moving right across their field of vision within 10 feet of them, but because I'm crouched or hanging off a wall, they just don't see me. Orcs don't care much about each other. Their martial culture means that when they find a fellow orc dead, they assume that he was killed due to his own stupidity, or in a brawl / duel with another orc. This removes the need to drag and dispose of bodies while also masking the fact that orcs don't look for the player when they find a dead body. There are examples of stealth games in which enemy guards don't notice or care about dead bodies that they find, and that's always immersion-breaking. Shadow of Mordor cleverly turns what could have been an immersion-breaking limitation of the A.I. into an appropriate element of the world and narrative. As long as they don't actually see you kill their fellow orc, you can rest assured that throwing an archer off a ledge won't alert any guards who pass below to your presence.

Combat mechanics are almost identical to Arkham Asylum, except you have an ethereal bow instead of all the gadgets or grappling hook. But it also blends some elements of Assassin's Creed insta-kills into the fighting mechanics as well. Fights are much more challenging than in Assassin's Creed because you can't insta-kill enemies when you parry them. Instead, you can stun them and then perform an execution or coup de grace, but you're not impervious during this time. You have to time your coup de graces appropriately in order to avoid being hit in the middle of slitting a prone orc's throat. There are insta-kill special attacks that behave a bit more like Assassin's Creed's counter kills, but you have to build up a combo streak before they become available.

Executing a coup de grace [LEFT] on a single orc in a mob requires split-second precise timing.
Or you can perform a combat execution [RIGHT] mid-combo if you get your hit streak high enough.

Attacks are fluid, controls are responsive, timing is tight, and you can counter or dodge out of any single attack or action. This all combines to give the player a tremendous sense of control as long as you are patient and deliberate in your button-pressing. The strict timing will severely punish you for button-mashing, which makes the combat challenging and satisfying throughout the game.

A gamer's thoughts

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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I've been saying for years that Star Trek would make a good anthology series04/14/2016Earlier this year, it was announced that CBS will be creating a new Star Trek television series to celebrate the franchise's 50-year anniversary. Very little was known about the series except that it would be under the leadership of Bryan Fuller (a former Deep Space Nine staff writer), and that it would premiere on CBS's All-Access...